ait (Tee ON) (ale Lae) La Colas}(lele (1) ECCT Sn ny KIS SPORT GUITAR aN Te On aes ET aa Ree te EME NIEMEGADETH Lesson Precision Bending IN “TRUST,” MARTY FRIEDMAN relies on variety of string-bending techniques 10 impart an emotional, vocallike quality 0 ‘many of his licks and melodies. skillfully employing techniques such as compound bending, rhythmic bending and bend vibra- (0, Friedman not only adorns “Trust” with soullul lead guitar work, but provides us with great lesson material fr studying the art of precision bending. ‘Measures 93-95 showcase how Friedman exploits different intervals when string bending to create fluid and melodic-sound- ing guitar licks. Kf, when performing any of these bends, you find your notes sounding a litle “sour” you may need to work on achieving proper intonation when bending the strings. To practice bending to the prop- cer “target” pitches, play them as regular fret- ted notes first. For example, before bending the E note (2nd string/t 7th fred in measures 94 and 95 up one-and-a-half steps 10 G, fist pick the regular unbent G note located three frets higher up the neck. This isthe target note you want to remember, oF listen for, when bending the note E up one-and-a half steps. f you can easily hear the target pitch, but are just having teouble physically controlling the bend, try reinforcing the ring-finger push with your middle finger and, if necessary, your index finger as well This will provide moce finger strength to push the strings, Atthe beginning of bar 95, Friedman plays a sinewy-sounding lick, taking the pre- bent note at the 17th fet, releasing it partial. ly, and then rebending the note back up ‘one-and-one-half steps. Ths type of melodic bending technique is known as a compound bend, and its uniquely fluid sound is largely due tothe absence of any sort of pick or hammer-oryputl-off atack during the ‘melody. Releasing the bend precisely a hat step will require some accurate lei-hand intonation control in order for the melody to work, (This is also true for the stat of the lick, as the pre-bend requires you to bend the E note ane-and-one-half steps before itis picked. Your fingers must perform the bend relying entirely on muscle memory!) Measures 119 and 120 show us an exam- ple of another technique which can be referred to as rhythmic bending. Beginning at the end of bar 119, Friedman takes a pre- bent A note (17th iret) and repeatedly releases and rebends it in a deliberate rhythm. While the bend-and-release action in this rif resembles the previously dis- cussed compound bending technique, i s different because all the bent notes are of the same pitch. “Throughout “Trust” Friedman can be hheard using bend vibrato to shake addition al life into is bent nates, Bend vibrato is represented by squiggly lines over the stat and tablature during a bend, as in measure 114 (Gee FIGURE 1), and applied by repeat- edly bending then partially releasing a note ina quick, even chythm. Though similar in nature to rhythmic bending, bend vibrato always follows one steady, pulsating rhythm for each note. FIGURE 2 shows a mare sraphic representation ofthis technique. Here, we can visually observe that a bent note’s vibrato is affected by rapidly dipping the whole-stop bend down a hal-step and rebending it back up to a whole-step in a steady thythm. Done well, this technique produces a shimmering, vocaltike vibrato effect. If you experience intonation trouble Tete fein fen when performing bend vibrato, you may be ‘over or under-shooting your “target” pitch for the bend. Practice the vibrato ata slow. cer rate (the speed at which you bend and release the note) in order to better hear the ‘change in pitch. You'll then be able to more ‘easily make adjustments and train your fin ‘gers to apply just the right amount of push pressure for each bend, ‘When practicing any of the previous bending techniques, keep in mind that bending in general is easier to do on the 2nd and 3rd strings. This is because they hhave less tension than the Tst string, and the ‘bottom three strings tend to “roll” out from under your fingers more easily. Also, is ‘easier to bend notes located around the 12th fret, However, with practice, you should be able to perform various bends just about anywhere on the neck. Then, young grasshopper, you'll be on your way ‘to mastering the art of precision bending! Jeff Pesrin BASS NOTES ‘While keeping his notes and rhythms sim- ple and to the point, Megadeth bassist David Ellefson still manages to slam out a hard-hiting groove for “Tust” by dialing up a meaty bass tone and utilizing an aggres- sive pick attack. ‘While some players may consider using a pick to be cheating, the reason Ellefson, and many other rock bassists, play with a pick is thatthe tone achieved with a pick can be much mote pronounced and sharp- cersounding than any attack produced by a finger pluck. How much does that really ‘matter A lot, when it comes down to blending your bass sound into the overall ‘mix of instruments. When combining low, gut-wrenching guitar tones, thunderous kickedrum, and the occasional deep synth string patch, finger-picked bass lines have a way of turing into barely intelligible sub- sonic mush! Using a pick can help remedy this problem by adding mid-rangy tone and definition to each note atack, which effec: tively broadens the bass frequency range and lifts the song out ofa potentially muddy Jow-end mes. In addition, when synched- ‘up tightly with the drummer, the plectrum bass attack can also lend the arrangement some extra punch by giving the kick drum seemingly crisper, more powertl hits, —Jefi Perrin visit Jef’s web site at home.sprynet.com/sprynet/efiPerrinWords and Music by DAVE MUSTAINE and MARTIN FRIEDMAN Guitar Transcription by Jeff Perrin ‘As heard on Megadeth’s Capitol recording CRYPTIC WRITINGS AS FS, bbs 85, Ds abs" = cs! gt Hf FE ia” nro Moderate Rock d = 132 Ne. * ums)g. —<— of Sytner. ces PP oe: wes) (© 1997 SCREEN GEMS-EMI MUSIC INC., MUSTAINE MUSIC and ADAM MARTIN MUSIC All Rights Controlled and Administered by SCREEN GEMS.EMI MUSIC INC. AIIRights Reserved International Copyright Secured Used by PermissiontM) BIE) Pm) Mod = Sek IS dS) ANAT *NC(E5) (cs) OS) (Bb5) (cs) 20 fire came[B)tsta and verses to bost ina nothing's what it see 2. Time an she repeats be thiends ' 3 OS As 5 5 Searching my head for the words that you said smile and ay yes Another ‘rath bends 1 must confess Tears filed my eyes, as we sald our last goodbyes This ty tw tg but! know well never end td wore dust = We € os Be Be & ores BT Wan ayn atin sed scene replays fof you walking away to eachother again (1 wish | couldtrust) but I wish | could trust E % £ BE 0S AO OF eo e ® @® Q ® rs 12a fy. scone ae DAW Tin aaMy. body aches from — mistakes betrayed by ust We NC(ES) (8) (as) (65) (c5) Gs andy Fy. tice erly dm {astine)To Coda 7 lied to each other so much that In nothing we trust ©) (cs) (as) (bs) es essa o cece hatin nothing wo trust God——help me =pase on my tes betrayed (on my knoe 8) es ro tas) OP MY I) sy Gn 2. Ft we "by lst We lied to each other So much row'there’s nothing we trust (Goodbye love) (so much) 5) (3) as) (es) be 191818 10m Os (D) itertude = 118 suson HOW could this be happening to mem iying when say . ‘rust me cant bllove this fs tue “Trusts Why does rust nl string og NCLEM) © (am) A. Em mat orbs ° ora eyeing cos) bo Bm Frain and= 108 (Gradually increase tempo to 4 = 130 over next 5 meas.) fs 4 _ - 5 = Pa ou TE] outer soo J st32 Ncves © as) es Con 8 tai ee at Jonr ee mist) nnn 3 os (5) (63) (as) (265)(©) (3) nA eM ete FS ah adad (a5) (5) sgh mabah pea Se that in nothing we trust God help me please on my knees betrayedby ust We lied to each o- (5) (@b5) (cs) (5) (05), (as) (855) e (05) 105 (Gee 1 42. my Fi. tx mes Gls iy. Fae es Fhe e ther $0 much nowthere’s nothing we trust My body aches (S0 much) (5) (ess) (es) (65)ther so much (We ed to. eachother ouch) vs) (255) == God hep me please oss) ™ noes be Help me (es) (cs) (epee) 5) we Me . Sea oS = SSS ? mS a we @ —————— i 4} trayed by lust We ed to each other © much (65) ©) (cs) Cm 182 yy. Fo. at3ba ny aig Gipsy #2 fetes om). 1% pee + Absolutely nothing we trust 5) Bb A £ DE BbsMcsil gst ®@@O0O@0 Or open ShopeWords and Music by DAVE MUSTAINE and MARTIN FRIEDMAN Bass Transcription by Jeff Per As heard on Megadeth’s Capitol recording CRYPTIC WRITINGS nro Moderate ook 182 N.CEm) (0) (am) a) 1 (urs, 8. “¢: (5 ar bg) (Em) © (an) oh (© 1997 SCREEN GEMS-ENlI MUSIC INC., MUSTAINE MUSIC and ADAM MARTIN MUSIC {All Rights Controlled and Administered by SCREEN GEMS-EMI MUSIC INC, All Rights Reserved International Copyright Secured Used by Permission UAC2 NC\ES) (cs) (As) D3 = SSS ? 2 = — + = - 32 (ES) (cs) (a5) (Bb5) ——— ee et o—0—0 — 8 + - 6 Y [B) verses eres se eg lot in SL Time tnd aan. « 6 cs ss rs fs FE : io = oo. zy oot 3 *{G) tetandand horses isn et 2a) My body. aches... 52 NO(ES) (5) (as) es) Pay Ft sceranthtes e) (cs) (a8) (65) 58a : compason8) ao [By tate os bo e118 am FIT No(es) (cs)[E] Guitar Soto (seers. 5 ib ts. v8) Je t32 NCIS) (5) [Eovtehors ems st neg.) My body aches. 2 -NGIES) oy 09) es) (20st) - =, Ss i=l a 5556 ror ES) (05) (as) (5) Bhs cs ES: EEOCFOREIGNER Lesson bsboold jon | Pe The Art of Crafting a Great Solo ‘THERE ARE THOUSANDS of guitarists who can play their asses of. And most of them, shen afforded the opportunity, will throw in the kitchen sink in order to impress anyone ‘who will listen, Bu it’s the select few who have the ability to craft solos which are not only interesting, but integral to the vibe of the song, Interestingly enough, is often not the guitarists withthe most chops, but the ‘ones with the best sense of what works that create the most memorable solos. Mick Jones, a musician's guitarist, ce tainly belongs in the later category. His timeless solo on Foreigner’s anthem “Hot Blooded! is so catchy, so righ, it falls into the “must learn note-for-note" category—if you were to play anything else, it wouldn’t be the tune! So how does one craft a solo that doesn't sound either too generic or too esoteric? That’ arhard question to answer, because a Jot of it has to do with, well, actually doing ‘intuitively hearing what would work and then making the correct musical choie- (es. But ifthere was one way to learn how to create a great sol, it would be to dissect ‘other great solos and try to understand, and then assimilate, the aesthetic sensibility that inspired the soloist to play the way he did. In other words, figure out what makes the solo tick, and apply it when you encounter a similar tune to solo over. Let’ look at the solo to "Hot Blooded” the first nine measures are depicted in FIGURE 1), and try to glean some insight from it. Right off the bat, notice that this solo is comped—constructed using the best pars of a few different takes. This approach is used in the studio more often than you'd think, Only the purist feels that he should lay down the perfect solo in one take (not that there's anything wrong with that), but in reality, everyone fixes parts. So in a nutshell, use the studio as a tool; let it work for you. Perhaps the best thing about this solo is its unpredictability. Mick Jones structures it in such a way that you never know where it's going next, but it makes total sense when it gts there. Look at the unorthodox. beginning—you'd normally never expect a hard rock solo to star off with alow register bend such as the one in the first measure- vet it works,..big time, This brief statement conveys the mood of the lyrics and sets the tone for the rest ofthe solo. Inthe first six measures, Jones plays ideas built on the G minor pentatonic scale. Then, in the seventh measure, after along ascend: ing slide on the B string, he hts a “clam (a mistake) he plays the open B string, This note obviously clashes withthe established harmony of the solo, yet Jones let it in. Why? He intuitively knew that this note would work on some level. A more inexperienced uitarst would have fixed this mistake by “punching in” (re-recording) another note lover it, but tthe same time he would have obliterated the most charming and humorous clement ofthe solo. Over the years, Jones! decision to leave the open B in has been vin- dicated—to a lot of guitarists, tis isthe most ‘memorable part ofthe solo—and the one that evokes the knowing smiles. Jones flies in another guitar in the ninth ‘measure to play the cool double-stops inter- spersed with the open G and D strings. This part kicks the energy level of the solo up another notch and sets up the climax of the solo—the unexpected wide compound bend in measure 14, [For more on com- ‘pound bends, check out this month’s lesson for “Trust."| Jones finishes the solo in the same register he started—with a whole-step bend on the A string. ‘When crafting a solo, your primary con- sideration should be having it fit the song. ‘Add some unpredictability, repetition and melodic contour (using the whole register of the guitar doesn’t hur), throw in a litle bit of humor, and chances are you just ‘might create a great solo. “Askold Buk BASS NOTES Ed Gagliard’s bass work on *Hot Blooded” isa great example of playing forthe song. Instead of throwing in gratuitous fils atthe end of every other bar, Ed maintains a disci- plined pumping eighth-note root figure throughout the intro and verse sections, adding brief, subte fills only where the song, needs them, such as atthe end of a section. Particularly effective is Gagliardis use of rests during the verse and bridge sections, here the temptation toil is strongest. By leaving these “holes of silence” empty, he allows the drums to take over and provides an effective contrast to the big power chord hits. This Zeppelin-esque approach makes for a dramatic and powerful sounding groove.Words and Music by MICK JONES and LOU GRAMM Guitar Transcription by Dave Whitehill As heard on Foreigner’s Atlantic recording DOUBLE VISION into Moderate Rock o = 114 [B) stcnous hhot blooded checkit and see 1 gota fever of @ hundred and three cuss = G ¢ suse Gust G c Csust Copyright © 1978 SOMERSET SONGS PUBLISHING INC. and WB MUSIC CORP. SOMERSET SONGS PUBLISHING, INC. controlled and administered by INTERSONG-USA, INC. International Copyright Secured All Rights ReservedComeon baby do you do more than dance Tm hot blooded fm hot —_blooued cust G c aust Dust =D Dust =O - = = oS es = [E] tnverse 4. You dnthaveto read my mind to know vat 7% ruses @ aso nn au a have in mind Honey you oughta know 6s Fousz 05 6s Foust 05 B45HOT BLOODED [Zeiss S = move so fine Let me lay it onthe tine ' a 8 Fousz os os Fuse os = — r wanna know what youre doin’ fatter the show Now its » ous 05 0 6s Fouse os [D] tst Bridge wp to you We can make 9 secret rendezvous ust 2 D5 cs bs Fs os D505 s Em ° mp ea.mo i = a eee z me and you show you lovin’ ike you never knew That's wy tm a 5 0505S Fs os 5055 FSS bs G5 = sts) [E] and chorus hot blooded check: Mandate 1 got a fever of @ huncred_ and thee cast G ° caus Gast c Cust ay or 2p0=[8) ie Come on baby do you do more than danc im hot blooded hot blooded Gust G ce Cust Dest =D Dsust =D 4g. 2entnes (8 ne ACN COONHOT BLOODED ana verse 2. it feels alright ‘maybe you can Fou oo, os Fouse os stay all night Shall | leave you my key 6s Fou 05 65 Fs os 53 give me a. sign c'mon git some kinda sign Tell me are you 6 Fouse os os Fusz 08{ook that way to me cs os [Slane sige old enough Will you be ready when 1 call your —blutt is my Ds 805 5 65 05 C5 Os Em 3 gs GH 28Kybe pay [D] sme timing right Did you save your love for me tonight Yeah tm Pr 5 os 055 05 65 Bhs Gs[H] saaan chowses hot blooded cast 6 (e.g E] te (8.295 6) ae cheek it and see c cust of Feel the fever burnin’ inside of me Gust Gg c Caust (enti) Fo Cada Come on baby do you do mere than dance {im hot blooded Tm hot Blooded tim hat Gust G c aust Dsus 0 Das 0 cone — —4 = os Foue os ous os os[seensge ow sp tego can wo mak a sort feud os os os oF fs os 96 Gis. 1,28 Kybd. play Fig, [D)simite Poa ee ee rendezvous Un before we do youlthaveto get away from you know who Wel rm wm «CO os sos os sf abs Gs@ Coda [Route chorus ot blooded (Hot blooded) Every night {Hot blooded) You're lookin’ so tight dust 0 Gout GC Cast Got 6 6 Gust oe 2plyB] ste Now you're crvin! me wild tm so hot for you child (Hot Blooded} (Hot blooded) (Hot blooded) suse 6 c cause Dsusa D Deus D (Hot blooded) Ym a tite bit high (Hot blooded) You're a tle bit shy Gast 6 c cause Gest 6 c suse rips Fa] io 4 6s 2ply5 Ff} sre You're making me sing For your sweet sweet thing 118 (Hot. blooded) (Hot blooded) (ot blooded) Gaust 6 ¢ sus Osust o Osuss 0HOT BLOODED Words and Music by MICK JONES and LOU GRAMM Bass Transcription by Dave Whitehill ‘As heard on Foreigner's Atlantic recording DOUBLE VISION [Alito NG,G) Gsuss 6 oc oust Sos 3 3358, ————— it yo press a ely [Blsstcnoruss rs interes) net locded. 5 NC(G) Gast ‘ cuss Nc@) oust 0 oust 2 3 Fuse os 65 Fousz ©5 sia ea si) [D]teteritgo snes sng vp fo you. ta 050505 5 5 os 6 Em e ee sw ms = SSS ee SS SSSI = ae — = - a aa SS = [Elena chorus osm #1 now vr sa : : +E 3 fe = 1 ay asin cress ae ny Copyright © 1978 SOMERSET SONGS PUBLISHING INC. and WB MUSIC CORP SOMERSET SONGS PUBLISHING, INC. controlled and administered by INTERSONG-USA, INC. International Copyright Secured All Rights Reserved Used by PermissionHOT BLOODED { [Elena verse se ness ate gs) {B] an ide sr rss. en en Wt fet. (estima) re youold. es Fue 65 os 050s os os 2 ‘goons sn) 15 SS SS SS SS f ae 2 1 z =F i lle i 5 (at ane th choruses (ne reas ro rr) ht blooded. » 0 3D mm oe FS 05 BS GS NC G)GuM © Gast a a os NO(G) Gust ° cust N/a) Gust ° cust 4 (ends) Fo Coda {1 cota Sto nem nrg) NC(O) Dsuse ° Devs ° 6s se Fox2 5 lay 3 i) — rd Bridge (one nee. 7 ne gh rans) 2 DS. Sal Coda: sect % a 050805 05 Fs os 05 5D Em c Fo: 05 Bb5 Gs 7 ot cota [lou chorus ira inte rn) ot blooded a7 Oust No(@) Goud G c sist NO(G) Gest «G a > Peyrapeatorae| c Caust NO(G)Gsuse cc Coust NC(0)Dsuss 0 Duss 0 Papa ctMETALLICA Lesson Orchestral Maneuvers for Two Guitars |S RRA TO WITHIN THE BRUTAL boundaries of Metallica's muscular, musical world, the battering-ram effect of two cranked-to-the ‘max guitars riffing in exact unison was always the only way to go...until the release of last year’s Load, that is. In fact, the band ‘was so intent on exact riff replication on thei five previous studio albums that James Hetfield recorded all the rhythm parts while kirk Hammett concentrated purely on leads. ‘When recording Load, however, Metallica’s mao. regarding rhythm work changed. Consequently, Hetfield and Hammett divid- ced the riff work equally. “We wanted to get 2 looser sound on this record and the best place to do that was with the guitars,” says Hetfield, “That was the newest thing ofall besides our stupid haircuts.” “1 specifically went out of my way to ‘come up with a second guitar part that ‘would complement james’, not ape it” Continues Hammett. “Our parts have a real- ly good sense of interplay. And you can actually separate the two guitars and tell ‘who's playing what. James ison the left side lof the stereo mixi, Ym on the right ‘As a result of this division of labor, the sound of Metallica’ riffage has definitely changed. As Hammett informed me during the making of Load, “I's gone from being a ‘one-dimensional sound that was tighter than a gnat’s ass, to being looser, broader and deeper.” ‘Bleeding Me" isa prime example of how ‘ovo guitars playing contrasting but comple- ‘mentary parts can add a whole new dimen- sion to a song. The first 16 bars ofthe track ‘open with Hetfield repeating the sony’s eight-bar main verse motif labeled Riff A in the transcription). Then, at 34, Hammett ‘enters with FIGURE 1, a piano-like part somewhat reminiscent of the opening to ‘Aerosmith’s “Dream On,” which adds tonal depth and diversity tothe proceedings. ‘Once the vocal kicks in at :51 while Hetfield continues to churn out Riff A, Hammett takes a step backwards and plays some sparse but tasty parts spiced up with ringing natural harmonics (N.H.) and Hendrixlike octaves (see Gtr.2 part, bars 17-31). ‘As one would expect with Metallica, i's conly a matter of time before clean tones give way to diy tones, and this happens at the pre-chorus (:23). While Hetfield slams ‘out an E minor power chord progression (Rhy. Fig. 3), Hammett plays a single-note theme (see FIGURE 2) which serves as a ‘countermelody to the vocal line but doesnt distract from it, Incidentally, this pre-chorus motif becomes such an integral part of the song that Hammett reprises a subtle varia- tion of it after the first chorus (3:17), shown here in bars 56-64 (Gt. 2) ‘Aiso noteworthy during the pre-chorus is the way Hetfield adds tension to a seeming. ly innocuous E5-D5-£5 power chord pro- sression by hammering-on from the fourth to the fifth of each chord (E4-E5, D4-D5). If you listen closely, you'll notice that this device is aso applied on the D5 and AS chords in the song's chorus. At this point, Hetfield and Hammett join their sbx-string forces by both playing the exact same rift (Rhy. Fig 4). Realize that, although two gui- tars playing different parts can sound great, you can have too much of a good thing! Nick Bowcott BASS NOTES ‘Although Jason Newsted’s bass work was a highly prominent sonic entity on “Until It Sleeps,” the frst single released from Load, his tone on “Bleeding Me" is much less in- FiG.1 vyourface. In fact, “murky” would be a ‘much better description of his sound. Why did he choose to go this route? Because for this particular track, that’s what works best—end of story. Newsted’s dark bass tone here, while not being particularly prominent, adds greatly to the song's ove! all texture. Clearly, sometimes a bass is bet- ter felt than heard. “I simply want to be the best bass player that I can be for tis band,” is Newsted’s team-player attitude towards his role in Metallica, ‘To add depth to the textural role he per- forms in “Bleeding Me,” Newsted makes ‘good use of finger slides and octave diads in the intro. Notice too his Lemmy- approved use of octaves and roovfith pow= cer chords in the pre-chorus plus roovfith and rootforth diads in the chorus. Doing this definitely adds depth and a certain amount of dissonance to the proceedings. ‘When it comes time for Hammett to solo (6:07), however, Newsted unselfishly reverts to pedaling root notes in a rock-solid fashion to give the guitarist both a solid foundation to build upon and also the sonic space with- in which to maneuver. This approach defi nitely gets the Clif Williams (AC/DC) stamp of kick-ass approval! Once again, the old adage “sometimes less is more" rings tre. —Alfie NoakesGaSe Sa Merattica eee) Words and Music by JAMES HETFIELD, LARS ULRICH and KIRK HAMMETT Guitar Transcription by Jeff Jacobson As heard on Metallica's Elektra recording LOAD 04 05 8s cs 4S 55 Em Tune down 12 step (low to high: Eb Ab Db Gb Bb Eb) intro Moderate Rock d= 116 Haifsime Feet bf 7 pe 7 5 wt —= \" * ann ——— E 9 ite enter t et ill at lat al lt ll — 5 — al —— lt alt a9 “pay dinecry verses 1.3. alggin’ my way {im diggin’ my way to somethin’ 2. sowin’ the seeds {im sowin' the seeds Ive taken Em 15 Guiptysanar eaRiy.FQs af pit =S5 Copyright © 1996 CREEPING DEATH MUSIC (ASCAP) International Copyright Secured All Rights Reserved Cac)fm digg’ my way to somethin’ better ''m sowin the seeds 1 take for granted (payne sane ie NH Gt ae ad tis soatoy E92 x a < 1m pushin’ to stay [I'm pushin'to stay with somethin Im pushin'to stay with somethin’ beter This thorn in my side this thorn in my side is ftom the tree This thorn inmy side is from the tee ve planted Ooh it ag ore oo MN =i) 1 Ag) A AR) 2 PP) a l | ro iraeCESS MerALica a = = (2rd yeah yea Yooh seam Fea ss e 0s fs ee TT). 7) Ro) ore SG [D) tst and 2nd Choruses Caught under wheels roll take the leech I'm —_leeding me 5 Si. ply care re at Riha (es aa wy i + + =— ¥ a ee ee een es ae ro Cant stop to save my soul 1 take the leash Es 45 Fay. Fa f | 2 ¥ = * * * — Ree 7p BR a ae 6 ce ere coe ca eee ter eae Tm bleeding me Whoa ooh I cant take it 5 05. as Grote. Fite iy fee A (chante wie) | | ——_ |= = as ee Se ee =a (end tine) To Coda 1-49! Oh the bleeding of me ral 4s one wheel's Caught under os & Gr pla a tsb li. Fad s 4 05 a4 ay yd The bleeding of yeah as {63 feeanten wi) (E) netde we en Oreiramee rape Faz —— eee RCCDs. oo. ays a _—— ee eee SS= SSS a rai i is ie tp te @ cout Tempo! the bleodingot me (Oh the bleeding of me {and out} ey Ne. hy. Fs ey. Figs (E} sige am thebeast that feds the beast a er come mate me poe | Bled” me 3 owe “pon woe cece Tm caught "Ym aught tm eaght ander Ne. ts Ne “ tyranny ann pete = SS [B] ae chonus ‘aught under vee ro toke the lee rm bledng me ts 0s rs gq isin ton roe an eH Ee — SS = i a | Cant stop to save ny soul 1 take the leash that’s s 0s as og Gt nye. is ittarny: SURG a Td & ee (im beeding me oh heart take 05 45 Ne. 100 Gia pays ty Fi es ees a zg = ¥ 1 can't take it 5 2 ays Fy. Fisk 03st and wa used as wooo LL eet rs : + nn oo ft t teow oe et - “+ = = —— Houta soo ts Ne es ne ton Gress vg res Cha one Pps (RU CURCSS TS METAL Cae SSeS ee Come on baby NC. es Ne. Gra ae2payhy. Ag sve mes ate Fel & tag OME Ft ———! @ 43 # | eee ee m4 rete—— z = [=== & 0s Cra an 2p ry. Fsa ———————e T — ¥ ‘a7 48 @ coda tt wth sometin beter ONTETS SE METACLI CA eee) Words and Music by JAMES HETFIELD, LARS ULRICH and KIRK HAMMETT. Bass Transcription by Steve Gorenberg Tune down 1/2 step (low to high: E> Ab Db Gb) into Moderate Rock 1 No. Em — (aya se po ES fst and and Verses (ne s.r ge) ‘atm digg my wo 2.tm somite seed Copyright © 1996 CREEPING DEATH MUSIC (ASCAP) International Copyright Secured All Rights Reserved PCAN CTT]| [Pree xem sn testy (2ndtime) And | bleed = wo 51 5 Caught SES “$5 D) cows osu ses) under wheels. L nN B==5 rai SSS “pay ato on 55 5 06 ay tne as = Ds (endtine) To Coda 1) 15 (so Coda Necute ates 2nd coset Fretins Tempo! Ohthe bleding of mea. 3 7 1 TF) Big wero) nine) 0.8: Sat Code 1 | am thebeast B Ne. es Ne. (ay atmes) @ coda 1 (5) uta Soto emus 04g. 5 No. (a7 es) os —— 2 = = =(amntine) DS. $ al Coda 14? Bs oO 05 SOS Ne. (lates) @ cosa Necien) 109 eye) (Hi)sra Verse xo mas 17a tae) rm ign’ my way... RE CaOPRETENDERS Lesson Hybrid Picking IN “MY CITY WAS GONE,” guest guitarist Billy Bremner employs a right-hand tech- nique known as hybrid picking pick and Fingers) to perform some cool, twangy- sounding licks and melodies that help pro- pel the song and give it just the right amount of “kick.” (Our frst example of hybrid picking is clearly demonstrated in the very beginning ‘of the song, when the lead guitar enters at measure 8 (see FIGURE 1). To perform this lassi intro rf, use your right hand's mid: dle and ring fingers to pluck the notes on the top two strings and the pick (downstrokes) to sound the notes played on the 3rd string, To reproduce the rif’s short, choppy rhythms (indicated by the staccato dots appearing over each chord), use your right hand's fingertips to mute the stings immedi- ately ater each attack. Incidentally, this ‘muting action also gives your fingers a chance to really dig in and grab the strings. You'll then be able to pull or snap the strings slightly as you pluck them, which will help you recreate the “popping,” percussive sounding attacks heard on the recording, Hybrid picking enables you to take advantage of both fingerpicking and flat- picking techniques together or individually ‘without having to perform a juggling act with your guitar pick. And as Bremner demonstrates here, by plucking two or ‘more strings simultaneously, you can Fic. 4 achieve a more unified-sounding attack, similar to that produced by striking a chord ‘on a piano. This is because when you strum two or more strings, you are actually pick ing them in succession. The pick ean make contact with only one string at a time, no ‘matter how fast you strum! In measures 40 and 41 {FIGURE 2} we can see how Bremner utilizes both flatpicking and fingespicking,style note attacks in his lead playing —a feat that would be rather dit ficult were it not for his use of hybrid pick- ing. To play this figure, flatpick all the single notes and pluck al the doublestops with your pick and right-hand middle (or ring) fin- ger. I's well worth spending time mastering this example, as Bremner uses hybrid pick- ing forall of his numerous doublestop licks found throughout the song, This constant fin- .erpicking of douilestops serves as a com mon thread which ‘sews’ his lead guitar parts together, providing for more interesting and :memocable licks and melodies. Hybrid picking can allow for some cool, unorthodox ways of playing certain rif. FIG URE 3, an excerpt from the last two bars of Fill 3 in the transcription, features a double- stop lick comprised of notes spaced two strings apart. By employing hybrid picking, Bremner produces a note attack which could ‘only be matched using straight fingerpicking, ‘While you could perfor FIGURE 3 using regular flatpicking and muting the 2nd sting, FiG.2 the deadened string and strum attack would change the whole sound of the lick I hybrid picking isa new technique to ‘you, it may take some getting used to plucking the strings with both your fingers and pick at precisely the same time. Practice hybrid picking only chords at first, such as the ones shown in FIGURE 1, as this will provide some good, basic taining in the technique. Once you feel comfort- able hybrid picking chords, move on to the lead guitar parts in "My City Was Gone.” As there are many hybrid-picked lead parts ‘throughout the song, you should find plenty portunities to practice this technique ‘To hear some entirely different examples cof hybrid picking in action, check out ZZ “Top’s “Sharp Dressed Man,” Van Halen's “Finish What Ya Started” and “Zap” by Eric Johnson Jeff Perrin BASS NOTES Tony Butlers playing in “My City Was Gone” serves asa great example of how a well-written bass line can provide a song's instrumental “hook” just as well as any oth- er instrument's pat. ln this case, che bass rif isso catchy and solid that most FM radio listeners can probably identify the song irom the first measure of bass alone! “How did Butler come up with such an ingenious bass line?" you may ask. Well, lets take a closer look at some of his play- ing atributes in hopes that you can apply a bit of the same to your own writing First ofall like virally all hit songsftifivsolos etc, the bass hook found throughout "My City Was Gone” is easy to sing/hum! Many musicians forget how hard itis for the average (untrained) ear to fol- low, much less remember, complex melodies. When writing riffs and songs, keep your musical ideas relatively simple, both melodically and chythmically, and you'll have a much better chance of catch- ing Average Joe or Plain Jane's ear Second, use plenty of repetition. Don’t assume Average Joe will be able to pick up ‘on your way-cool rif the first, second or ‘even thied time around. In *My City Was Gone," Butler plays that classic two-bar tft first heard in the intro dozens of times throughout the song! Although such repet tion may not make for the most exciting part from the performer's point of view, it Can definitely play an important role in the success ofa song. eff PercinMY CITY WAS GONE Words and Music by CHRISSIE HYNDE Guitar Transcription by Jeff Perrin As heard on the Pretender’s Sire/Warner Bros. recording LEARNING TO CRAWL Bs ES, os Fas A AS ae E ae hy Wl two Moderate Rook J = 108 {puoi say rere f rg pete wy Gr. (66) (zim) 1 went Bm A &5 Bm A 5 8 (tt pay ty. Ft sean ine e ik echt (© 1982 CLIVE BANKS MUSIC LIMITED {All Rights Controlled and Administered by EMI APRIL MUSIC INC. AIl Rights Reserved International Copyright Secured Used by Permission HTWEE TTS “st, 2nd & 3rd Verses 1. ack to Ohio it_had disappeared (2) back to Ohio stunned and amazed (@) backto Ohio farms of Ohio Bm A 65 but my —clly was gone There was all my favorite places My but my _ family was gone ' My childhood memories but my pretty countryside had been had been replaced by shoppingmalls. and Bn A 5 (py Fa tend on 2980S ke cd Ay Fa station (1), no train city had been pulled down (2) stood on the back porch Saw this world pass (8, paved down the middie muzak filled the air Gr. 9 plays Ry. 1 see ‘There was no downtown Somehow reduced to parking spaces there was nobody home 1 was lke the wind through the trees by a goverment that had.no pride The form Seneca to Cuyahoge Falls 1 said Bm Ak es Ct. 9p iy. 2 scandy (ty Ff eon 210, (ipa 2 testo 28D Nk cS al = a <8{chorus Vey oh vere di you go Oho 6s & os ? ? y y } 2) t y p~ (end time) To Coda 149)" (Gratin) To Coda 143° 2 a 1 fy. Fa rat ueDs. $ at Coda 14g’ 2.Well 1 went t 9° Coda 1 E) anscutar soo a ASB FHSS a ks GSFHSES ores nit Pa? v)vy My - Tada The A aye Fy. 2 ti rin. oO. t OME Jt foN et = pemtnetiele hate iBm Ao rps Ay Fn Soe Fy. Fe 3 Wao 8m the at oot a ae DS.% al Coda ny? 21 wont @ Coda [F) x Guitar Soto BAS as FAS 5 85 as 5 FAS ES G2 plays Fy Fine es slo sot ) 14 /-) i Py ns } ™p yd 11 ATIDAA STE PRETENDERS) Bm os v.84 en os Fas eS Bm A Gs F#S ES zee= an Bm Ak 5 FAS ES en A 5 FHS ES 16 Bm A Ce ~ Bm A Go Fis eS a = et ZF z Ea = —— 12 a — + 2 ~ : r “ Begin gradual fade Bm A os Fas eS 7% voters. o Bm A Gs FHS ES Bn os FS eS Fade out en A Gs FES ESWords and Music by CHRISSIE HYNDE Bass Transcription by Jeff Perrin As heard on the Pretender’: Sire/Warner Bros. recording LEARNING TO CRAWL tave Moderate Rock J = 108 [Blversesicsams tea 14,2, 8 backto Ohi, em A es an A ay burn meen tet. Pay Fuses on song ay Fl car tine FFs ayes) © 1982 CLIVE BANKS MUSIC LIMITED All Rights Controlled and Administered by EMI APRIL MUSIC INC. All Rights Reserved International Copyright Secured Used by Permission EEOC eTlend) 70 Code (ati) 70 Coda 11 hee = = 3 oa = ———— = . . [B] tstcutar slo nena inva om A ss 7 Bm 6s 8 — — 7 8 6 = —I— + — — @ Coda [E] 2nd Guitar Soto seeness inne ge ss) = mt os HB ES mks Ss 7 ———— ae PS See — Bm yA eneIMIY CITY WAS GONE Eiaais. @ Code tt [Ford utr Soto serene es) Bo A G5 F45 ES Bm A 5 Fis €5 4 ® an A 65 Fs es an ok 6 Fas &5 ote = ote 2 ———: Se SSS See - : % 5 et z J Bm AGS FHS BS Bn AGS Hs eS “6 Py ete Begin gradual fade an A os F45 & Bn A 65 Fas €5 ret —e é Bm A G5 FHS ES Bm A Gs FIS ES ply Ft an id tas (ay res aan 4 Bt SSS aa ea aS fear ee Ee = == “ = OTRO CAE)STEVE MILLER Lesson Va Hammered-on Triads em mn Noo SEVENTIES HIT MACHINE Steve Miller made ‘a career out of cranking out catchy, wellpro- duced pop tunes by relying on a tied-and- true formula: write a great melody over a simple chord structure, add a solid groove, and make it ust heavy enough to appeal to the rockers (even i it meant “borrowing” classic rifs and changing them around to fit the tune). Ths formula is exemplified in “Rock ‘N Me,” one of Miller's biggest hits. Like a lot of Miller's songs, “Rock 'N Me" starts off with an instantly-recognizable “million dolla” rif. Though vaguely remi- niscent ofthe intro to Free’s classic rock sta ple “All Right Now," it nevertheless stands €n its own due in no small part tothe signa- ture triadic hammeron lick—where the second of E (FH is hammered-on to the third (G#)—as depicted in FIGURE 1 Miller probably got the inspiration for this, move irom Jimi Hendrix, who was the mas- ter of hammering-on notes while holding down chord fragments. Hendrix loved to play major triads inthe frst inversion (where the third becomes the lowest voice in the chord), because it enabled him to hammeron irom the second to the third, creating, in effect, @ sus2-3 resolution. You can hear one of the most famous examples Of this in the intro to “The Wind Cries Mary.” FIGURE 2 illustrates a similar idea, ‘Be aware that you can also use this ham- meron approach to play other chord tones as well. For example, on the intro to “Little Wing,” Hendrix embellished the Am chord ‘wo ways: by hammering-on the root from the lowered seventh (G), and by hammer- ing-on the fifth (6) from the fourth (D). You can see a similar move in FIGURE 3. Stevie Ray Vaughan loved to hammer-on from the lowered third to the fourth, and from the fourth tothe flatted fith, often within the context of the same phrase. You can hear Stevie Ray use this move over the Am chord Im his solo to “Cold Shot,” and see a rudi- mentary version of it depicted in FIGURE 4, Even though these hammerons sound ‘complex, they are in reality very easy to execute. As you can see from playing the ‘examples, most ofthe time all you have to do is barre three adjacent stings with your index finger and hammeron one other note with your ring finger. The only trick is know- Ing where to play these fragments. As a start ing point, you should be able to visualize all the places on the guitar neck where you can play fist inversion major triads. Once you ‘can do that, try hammering-on the second to the third, as shown in FIGURE 5. As you can see (and hea, using hammes ‘ons to embellish chords can make even the ‘most ordinary progression sound fresh and. powerful I's all in the interpretation—just ask Steve Miller. skold Buk BASS NOTES Steve Miller Band bassist Lonnie Tuer is the consummate pro, knowing exactly when ‘out. On the verses to “Rock ’N Me," he lays down a tight, precise groove, never straying from the eighth-note pulse. On the second chorus, though, he deviates from playing strictly roots, instead punctuating each chord with a slick little chromatic fil. This move helps to separate the chorus from the verse (they both have the identical B-A-E progression) and give ita flavor of its own, In the second chorus, Turer’s choice to tend each fill on each chord’s respective sixth isa stroke of genius—because the contour of each fll 's the same, he main- tains melodic continuity while simultane- ‘ously breaking up the monotony of the B-A- E progression. to lay down the bottom and when to step —Askold Buk FIG.1 : aoe es & £ 5 FIG. 2ROCK ’N ME & Written and Composed by STEVE MILLER Guitar Transcription by Dale Turner As heard on the Steve Miller Band's Capitol recording FLY LIKE AN EAGLE (A) io Moderate Rock d= 120, A 85 5 85 sie | sia is. hats, sregnose 110 eo eeeenceeeneeeenennneeeeeeneeeneeness (© 1976 SAILOR MUSIC All Rights Reserved | Used by Permission2 Ne. {stand tn Verses lok real hard 4. Don gt suspicious w 8 to do my part that it's true 8 6 es {E] anand st verses superttous proene Arizona 2 26 5 and'm — tryin'tofind a jb now don't be suspicious 86 85 26 BS ‘cause | know in my heart and 1 don't gt suspicious all the way to Tacoma 25 85 Be 85 but it Just keeps gttn’ tougher every babe you know you are a fiend of mine 36 BS got to ‘are gonna es AS AB AS 46 AS please my sweet mm baby yeah ay come back to you in your sweet time 85 BB BS but my woman isa friend of mine Prhitadelphia Allanta LA, 8 BS AS AG AS AB AS 1.Well 36 6 Bs a8 ro 1 been ats But | got ‘And you know es 2, Well | aint 5. | went fromGUT ae wT (nate To Code thats tue thatthe tings thatido wil comeback to me in my sweet tine $0 keep on Caltomia "wherethegitsarewarm 30 1 coud hear my sweetmm baby ey s & Ge mE eS OBS BBS OS bees Bes 3 = F q 2 [o ssses ss haass fh ————————— ——— 2-2 234 + pe a 4-9-4343 SSS [D) tst chorus rock me bab eepona rockin me baby Kespona Py ee ee ME = a Fay 3 3 = syn _—_—4- GS —— = as FI reek me baby Keepons rockin me baby 21 went tom “ ces ges ET ESBS HSS BSB 6 4 SSS [Boa verse Phoonix Arizona all the wayto Tacoma ——_—Piladtphia tania LA, Norther es = SSS @O Siri iniP tied = ; ae : FFF F st a $- ae 55-5 5 5 0) cata vont glee warn s0 1 cud ewithyemnity yh sop na 2 ee es &5 65 6&5 % Bs 66 8S 6 85 85 BSrockin me baby Keepona —rockn me baby Keep ona 6 6 65 Be 65. Be 87 BBS AS ABS rd 46 AT =SrEs Tis 8 gue ey esi7e er?T?e? rockn me baby Keep on a rockin me baby Baby baby baby Keep on 50 cS G6 ES eo 5 8 85 BSB BS 86 87 aS [Blinc rock rockin me baby 85 5 85 E 54 eat ge, sats eg nce veing ees 4 Keep on a rockin rocky me baby — aati stig mee atygis, sing mice(COSTS SE STEVE MILLER @ Coda [H) sea chorus Keepon a rock'n me baby Keep an a rockin me baby BSB BS BES BE BS as fs eee a Hea Keep on a rock me baby Keep on a rockn mo rock'nmerock'n ASS 16 ES Begin Fade baby baby baby Keep on rock’ me baby Keop on a sigh cesses 1 rocky me baby Keep on @ rock me baby As ab AT 6 & £6 ES OES 2 rockin me rockn me rock’ Baby baby aby Keep on BS Bb Bs 86 8sGive eS Written and Composed by STEVE MILLER Bass Transcription by Dale Turner ‘As heard on the Steve Miller Band's Capitol recording FLY LIKE AN EAGLE lino Moderate Rock. d= 120 1 5 promod 3 = 5 —=3 Dee — ‘as Bae [B)tstand at verses, looking real hard 4. Don't got suspicious. 2. Wolllaint 5.1 went from oe =< © 1976 SAILOR MUSIC All Rights Reserved Used by Permission[Elendandsth verses operations Pree 2 (Dysstcnors rockin 0 A == Se ee ES ee 3.1 went from Elsaverse Phoenix. [Elana chorus roe meKeop on at Cota & 2s os E no as Ms ® cous {H] s chowus Keop ona. rock'n me 655555 5815 5 5 5FILTER AND THE CRYSTAL METHOD Lesson Recreating Synth Parts on Guitar TODAY'S VERSION OF dance club music isa farcry from the “easy listening” sounds ‘of bygone disco hits like “The Hustle” and “Don't Rock the Boat.” The Djs of taday grab freely from every musical genre in the creation of densely intricate, hypnotic dance music, be it of the “techno,” *jun- ale,” “acid-house” or trip-hop" variety, or whatever the latest guise or incarnation Established artists like David Bowie and U2 are now leaping on the “club” bandwagon, set into motion a couple of years ago by Cone of the hottest bands right at the moment, Filter. Filter teamed with like- ‘minded maniacs the Crystal Method to cre~ ate the lead track from the Spawn sound- track, “(Can't You) Tip Like | Do." Like the majority of today's dance music, this song's arrangement consists of the inti- cate mult-layering of a multitude of syrthe- sizer parts, Including synthesized drums, percussion, bass, chordal pads, syncopated ‘melodies and a wash of ambient (and not so-ambient) sound effects. What sets this song—and much of today’s club musie~ apart from yesterday's club music isthe gen- erous deployment of crushing, heavy metal uitas. Stl, if one were to attempt to recre ate this entire song on guitar, a healthy dose of rearranging of these synth parts for the suitar would need to be done, And violat, that’s exactly what we've done here. FIGURE 1 illustrates the first lick in the song, played on synthesizer with a heavy oscillating effect. On the synth, a single pitch is repeated in steady 16th notes, but a syncopated 16th-note lick is created by the oscillation effect. As the lickis presented here, the most prominent syacopation is sounded by the open low E notes, and the “random sweep” pitches of the synth are sounded as E notes fretted on the 12th fret of the low E string. Its the syncopation of the ‘open low Es that sets up the rhythmic synco- pation heard throughout the song. (Notice, ina bitof a bizarre twist, how similar this, syncopation isto the beginning of the Smashing Pumpkins song, "Cherub Rock.") To simulate this sound on electric guitar, tone would need to treat the signal in a sien llae way: first of all, the tones generated by a synthesizer originate as sine waves, which consist ofa far smaller frequency range than that of a plucked guitar sting. The guitar signal needs to be “squeezed up,” removing the upper and lower fre- quencies and accentuating the middle fre- ‘quencies, esulting in a much “flater” tone than is normally associated with the guitar. (One can begin to achieve this sound with the use of thick distorion, which always serves to smooth out the frequencies gener: ated, and also pushes lots of mids. The use of an EQ will also be of assistance; cut the lows and highs and raise a handful of the middle frequencies (all EQs sound different from each other, so use your ear to achieve 4 souind you like). To recreate the oscillat- ing elfec, try a flanger—most chorus ped- als sound a litle too wimpy to create radi- cal oscillation effects, Ambient reverb and subtle echo/delay effects also help to move the sound further away from a typical gui tar tone. FIGURE 2 illustrates a clavinettype key board part that enters at bar 5 of the inter- Jude (at 2:16), as arranged here for the gui- tar. To recreate this pat, put your guitar on the bridge pickup, roll of alittle ofthe bite {honky high-end cutis what we're looking fon), use a bit of distortion, plus a slightly Jong slap-back echo. Attack the chordal hits—on beats 1 and 3 in the first bar, and ‘on all four downbeats in the second bar— with a sharp stab, in order to simulate the immediate transience of the clavinet. These days, more and more guitarists are discovering the wonders of the Digitech Whammy pedal, a psycho device that radi- cally alters the guitar's signal in a wide vari- ety of ways. Mult-octave leaps are possible with the swift depression of the pedal; a ‘world of pitch shifting possibilities are available via the variety of setings the ‘Whammy pedal affords. Rage Against the Machine guitarist Tom Morello has amply explored the limits of the Whammy pedal, usually to stunning effect. (Check out the Prodigy/Tom Morello collaboration on. “One Man Army,” also from the Spawn soundtrack) True Whammy-ites seem to prefer the original Whammy over the later versions, so Digitech may have to deal with this development accordingly For more on making your guitar sound like a synth, see this issue's article entitled “synth, Ratle & Roll” beginning on page 30. Andy Aledort BASS NOTES ‘As far as can tll all ofthe bass inthis song is supplied by synthesizer. there is any real bassin here (bass guitar thats, it iscenainly ina supporting role ony. To recreate the impression ofthe synth bass, use a pick, and push lots of lows and low mids; remove any highs, because these fe- quencies accentuate the wide range of tones created by a vibrating suing. You want to smooth out the sound, and supply tons of push (an 18" speaker anda tuck load of wattage won't hurt) Also, accurate performance ofthe wide variety of 16th note syncopations here is a mus, if you desir to recreate the powerful rhythmic dive achieved on this recoxding. Andy Aledort(Can't You) TRIP LIKE | DO ‘Words and Music by RICHARD PATRICK, KEN JORDAN and SCOTT KIRKLAND Guitar Transcription by Andy Aledort As heard on the Immortal/Epic/Sony Music Soundtrax SPAWN-THE ALBUM Tune down 1/2 Step (low to high: Eb Ab Db Gb Bb Eb) line ‘Moderately Slow Trip-Hop J 1 NCE) NC(Em) (ay 48) ss aeons Tie sa ¥ 0 * Sahar fog ga [Bisa anaverses 1.1 gotthe understanding ota sounee * a NC.(Em) - = = vee ve ve yn nparreses Dine fourye od 1 got the peace = of oming oe 6 seasoned pro 1 got the lack of 7 a 8 oF a3 gS SF - — ————— 3 77, © = = wo kil’ sou! 1 got the rationale ofa & _bilon souls 1 got the world down = my—sback wut i (© 1997 EMI BLACKWOOD MUSIC INC, BUDDY DOIWER PUBLISHING, EMI VIRGIN MUSIC, INC., HARDER TASTER MUSIC, EMI VIRGIN SONGS, INC. and DRUG MONEY MUSIC All Rights Reserved International Copyright Secured Used by Permissionan’t You) TRIP LIKE | DO ew Yok cop | gate patnce ot ‘ tm wen cae 1 Sat he Sonpatnson Hi i SS _ ts a ——————— a chopping yok pa Tete 1 Trip the 4 do world: unaware yeah {Ohry God ‘God this 2 tony ee, Warbiot puso sures Sang vace wo ge a (Oh my God This is the best)[is onous Faster = 120 cant you cant you tip tke (Umm hmm | want yout trip ike Ido) as youtotrplike de) heusd f 1.1 when a) * Dobie aoa gt Bg ® r = Berit An ba Lay down on my beck can't slop ‘cause im forming eyes In my tet cant ee ‘ause fm _etng 2 (Gr. basset prison ca) Head full of noise | cant think ‘cause its crushing back onmy feet like @ freight rain a ‘coming Can't Es 05 4s Cr) 5 05 ors. cob rt ps3 35 Pet ord Fa We ar everybody fool tke everybody do feel tke 1 do {Ah oh my God) 39 6 ety ecaig scoatd yh. erg * Sanped ic afr Synth afr a.[Ej ane cnous cant you, cant you pte 1 do os seu fs ry Ss Es nda —teteeeee peeeeee pa erees sf Lie Ne tty Fi. Fy 2tce 2p AceGv. plays iy. Fa, wn 38 Ua) ow [Gl outchorus Cant you trip Cant you think Can't you be tke | (Oh my Gos) rate: nara Fa (40) oe An cs sue joes er es SS = =e SS wade 3 te FF roy soot 3 #3 nn 3 ees = 5: 2 == = ES = “hooper Py (cot you kt you he cant you ithe Can't you trip Can't you think Can't you be tke 1 ca do (Cant you walk Can't you breathe Can't you trip tke 1 oad ete orate ees =r(Can't You) TRIP LIKE | DO ‘soda Can Can'tyou trip Cant you think Cant yoube tke ' to (0) (Cant you walk Can't you breathe Cant you trip tke 1 a = Se everybody feet tke wo Cant you ip you think Cant you be tke 1 o can't you wak Cant = you No ots. 182 cohen oneltbegge 8 gph ees can anybody feo! tke cant you tip Cant you think Cant you be tke 1 71 breathe Can't you trip tke 1 0 do do % Cant you walk Cant you breathe Cant you tip ke meWords and Music by RICHARD PATRICK, KEN JORDAN and SCOTT KIRKLAND Bass Transcription by Andy Aledort ‘As heard on the Immortal/Epic/Sony Music Soundtrax. SPAWN-THE ALBUM. Tune down 1/2 step (low to high: Eb Ab Db Gb) (intro 9G [B) 1st and 2nd verses ‘Moderate Siow Trip-hop d= 90 ‘via ties) (oy 3 S. % atCode 8 ays) cota $8 lenorus (2 tirs) To Coda Wp SSSR Bitte as. $6 at Codes 2 8 8 (vay) © 1997 EMI BLACKWOOD MUSIC INC., BUDDY DOIWER PUBLISHING, EMI VIRGIN MUSIC, INC., HARDER FASTER MUSIC, EMI VIRGIN SONGS, INC. and DRUG MONEY MUSIC AIlRights Reserved International Copyright Secured Used by Permission